In my mind, France’s Domadora are still a new band, but their upcoming Renaissance LP arrives as their sixth album this December and is a massive single piece broken into two sides and intended as the second installment of a trilogy to be completed next year, so… yeah. Not exactly formative moves. I am, as if it needed saying, old.

I’m encouraged by the fact that Domadora reportedly put 20 hours of music to tape during the pandemic. Presumably Renaissance is culled from that vaster swath of work, and fair enough. The piece shifts through varying movements, from an initial build into a heavy psych wash through bluesier noodle-jamming, sound collage, loud rock, get-heavy bliss, progressive meander and, well, get-even-heavier bliss. Dynamic in how it’s stitched together, it maintains the spirit of improvisation, even as the process of editing itself becomes an aspect of its creation. That is to say, they took what they had and made something that flows out of it.

I missed The U Book — and why is this post all about me god I hate myself — so it’s included at the bottom here under the PR wire info and links so that in case you also need to get caught up, we can both do so before December gets here. Together. Like friends.

From the PR wire:

« Renaissance » by domadora

LP and Digital release on december 8th

France’s premium psychedelic jammers Domadora exclusively present their new release “RENAISSANCE”. Their upcoming sixth full-length “RENAISSANCE” is due out december 8th.

Since 2020, the band has recorded more than 20 hours of music. They have decided to release the fruit of their work in three steps: “The U Book” at the end of December 2021, “Renaissance” in December 2022 distributed by Kozmik Artifactz and then last one in
2023.

“Renaissance is a 40-minute stoner heavy psyche experience testimony to what makes the identity of Domadora: their organic way of making and playing music. There is no preparation, no Intro, and no Outro. There are no restraints, there is just pure music expressed through vibrations, strong or soft ones; Our current emotions are the only thing that leads us.”

This 40-minute experience is accompanied by a textured medium-length movie which will be released at an art-house cinema on december 8 in Paris.

« If we fully relax and let go, it feels like we are no longer the ones making music. It feels like some benevolent entities have joined us, taken charge and are the one playing. It feels like being under a harmless hypnotic trance for hours »

“But this time we had a little and weird story behind this session (a true story). Each of our improvisation session is tinted with the state of mind we are currently in while playing. As usually, we were roaming the countryside, looking for a secluded and atypical location, where we could play our music. We stopped in an isolated clearing, not too far from ‘la Basse du Diable’ in Les Vosges. We set up our whole gear, the band, the amps, the drums, the grill for the barbecue.

We stopped playing at 9 pm, completely drained. Before leaving the clearing, we quietly had a meal. Then, we started looking for a place where we could spend the night before getting on with our trip the following morning. We ended up heading toward an isolated house, at the end of a path, not far from ‘la Basse d’Enfer’ We knocked on the door to ask if we could set our tents on their property. An elderly man opened the door. His name was Claude. He was tired, rough looking man, and had deep voice. He was neither welcoming nor the opposite. To put it bluntly, he didn’t care at all. ‘Set your camp there, do as you please. If you’re hungry, I’ve got some food.’ We weren’t hungry, but we didn’t dare saying no.

We set our tents and got inside Claude’s house. It was a real mess, with neon lighting and a dark and gloomy atmosphere. ‘Have a seat over there, I’ll be with you in a moment.’ We sat around a big wooden table, a stained-covered, hole-covered, broken wooden table. Everything was creaking in this house, the chairs, the wooden floor, the table, and the walls. We remained silent. Claude was certainly in the kitchen.

Suddenly, we heard a deep growl filled with rage. We stood up and went to check on the man. We reached the kitchen and found him; his hand covered with blood. He had sliced one his fingers open with a huge knife. Apparently, he was in the middle of cutting up a rabbit for us. It was such a weird situation. Either there were no windows in that kitchen, or the blinds had been closed. The walls were dirty. One of the lights kept flickering, and there was this old rough looking man with his bleeding hand on top of the butchered rabbit. ‘Everything is fine, leave me alone. I can take care of myself’ he uttered with palpable annoyance.

We didn’t go back to the table. We needed to breath some fresh air. We went out. We pondered over the situation. We couldn’t help but be wary about this man. It looked like he was living on his own, but we could swear we had heard some noises coming from upstairs and from the basement. We started to come up with crazy scenarios. ‘There are four of us and he’s just one man. So, we’re good’, ‘Well, I think we’d better leave’, ‘Yes, but imagine that despite being a little ill-mannered, he’s still a nice guy. He’s even trying to cook us a meal. It would be quite an embarrassing situation if we left.’, ‘Maybe, but what if he’s a maniac. Things could get crazy if we stay.’, ‘Yeah, let’s just trust our guts and leave!’

We went back inside the house to tell him about the decision we had made. We were no longer spending the night out there; we were going straight home instead. We waited. No answer. We took down our tents as fast as lightning and left. We had an appointment at DGD on the following day for a recording session. We played for more than 40 minutes without taking any break. The result of this session is Renaissance.

Renaissance 41’14
Side A: Renaissance Part 1
Side B: Renaissance Part 2

Artwork by Belwil

Recording at
– DGD Music Studio by Brice Chandler,
– Pierre Scheaffer Studio / Chatenay Malabry Auditorium by Patrick Muller,
– Aït Icht (Souss Massa – Maroc) by Belwil Domadora

Mixed by Brice Chandler in Paris
Mastered by by Kent Stump in Crystal Clear Sound studios in Dallas Texas

https://domadora.bandcamp.com/music
https://www.youtube.com/user/rockingcrash/videos
https://instagram.com/domadora_band
https://www.facebook.com/Domadoramusic/

Domadora, The U Book (2021)

Here begins day two of 10. I don’t know at what point it occurred to me to load up the Quarterly Review with killer stuff to make it, you know, more pleasant than having it only be records I feel like I should be writing about, but I’m intensely glad I did.

Seems like a no brainer, right? But the internet is dumb, and it’s so easy to get caught up in what you see on social media, who’s hyping what, and the whole thing is driven by this sad, cloying FOMO that I despise even as I participate. If you’re ever in a situation to let go of something so toxic, even just a little bit and even just in your own head — which is where it all exists anyhow — do it. And if you take nothing else from this 100-album Quarterly Review besides that advice, it won’t be a loss.

Quarterly Review #11-20:

Magnatar, Crushed

Can’t say they don’t deliver. The eight-song/38-minute Crushed is the debut long-player from Manchester, New Hampshire’s Magnatar, and it plays to the more directly aggressive side of post-metallic riffing. There are telltale quiet stretches, to be sure, but the extremity of shouts and screams in opener “Dead Swan” and in the second half of “Crown of Thorns” — the way that intensity becomes part of the build of the song as a whole — is well beyond the usual throaty fare. There’s atmosphere to balance, but even the 1:26 “Old” bends into harsh static, and the subsequent “Personal Contamination Through Mutual Unconsciousness” bounces djent and post-hardcore impulses off each other before ending up in a mega-doom slog, the lyric “Eat shit and die” a particular standout. So it goes into “Dragged Across the Surface of the Sun,” which is more even, but on the side of being pissed off, and “Loving You Was Killing Me” with its vastly more open spaces, clean vocals and stretch of near-silence before a more intense solo-topped finish. That leaves “Crushed” and “Event Horizon” to round out, and the latter is so heavy it’s barely music and that’s obviously the idea.

Magnatar on Facebook

Seeing Red Records on Bandcamp

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Wild Rocket, Formless Abyss

Three longform cosmic rock excursions comprise Wild Rocket‘s Formless Abyss — “Formless Abyss” (10:40), “Interplanetary Vibrations” (11:36) and “Future Echoes” (19:41) — so lock in your harness and be ready for when the g-forces hit. If the Dubliners have tarried in following-up 2017’s Disassociation Mechanics (review here), one can only cite the temporal screwing around taking place in “Interplanetary Vibrations” as a cause — it would be easy to lose a year or two in its depths — never mind “Future Echoes,” which meets the background-radiation drone of the two inclusions prior with a ritualized heft and slow-unfurling wash of distortion that is like a clarion to Sagan-headed weirdos. A dark-matter nebula. You think you’re freaked out now? Wild Rocket speak their own language of sound, in their own time, and Formless Abyss — while not entirely without structure — has breadth enough to make even the sunshine a distant memory.

Wild Rocket on Facebook

Riot Season Records website

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Trace Amount, Anti Body Language

An awaited debut full-length from Brooklyn multimedia artist/producer Brandon Gallagher, Trace Amount‘s Anti Body Language sees release through Greg Puciato‘s Federal Prisoner imprint and collects a solid 35 minutes of noise-laced harsh industrial worldbreaking. Decay anthems. A methodical assault begins with “Anxious Awakenings” and moving through “Anti Body Language” and “Eventually it Will Kill Us All,” the feeling of Gallagher acknowledging the era in which the record arrives is palpable, but more palpable are the weighted beats, the guttural shouts and layers of disaffected moans. “Digitized Exile” plays out like the ugliest outtake from Pretty Hate Machine — a compliment — and after the suitably tense “No Reality,” the six-minute “Tone and Tenor” — with a guest appearance from Kanga — offers a fuller take on drone and industrial metal, filling some of the spaces purposefully left open elsewhere. That leaves the penultimate “Pixelated Premonitions” as the ultimate blowout and “Suspect” (with a guest spot from Statiqbloom; a longtime fixture of NY industrialism) to noise-wash it all away, like city acid rain melting the pavement. New York always smells like piss in summer.

Trace Amount on Instagram

Federal Prisoner store

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Lammping, Desert on the Keel

This band just keeps getting better, and yes, I mean that. Toronto’s Lammping begin an informal, casual-style series of singles with “Desert on the Keel,” the sub-four-minutes of which are dedicated to a surprisingly peaceful kind of heavy psychedelia. Multiple songwriters at work? Yes. Rhythm guitarist Matt Aldred comes to the fore here with vocals mellow to suit the languid style of the guitar, which with Jay Anderson‘s drums still giving a push beneath reminds of Quest for Fire‘s more active moments, but would still fit alongside the tidy hooks with which Lammping populate their records. Mikhail Galkin, principal songwriter for the band, donates a delightfully gonna-make-some-noise-here organ solo in the post-midsection jam before “Desert on the Keel” turns righteously back to the verse, Colm Hinds‘ bass McCartneying the bop for good measure, and in a package so welcome it can only be called a gift, Lammping demonstrate multiple new avenues of growth for their craft and project. I told you. They keep getting better. For more, dig into 2022’s Stars We Lost EP (review here). You won’t regret it.

Lammping on Instagram

Lammping on Bandcamp

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Limousine Beach, Limousine Beach

Immediate three-part harmonies in the chorus of opener “Stealin’ Wine” set the tone for Limousine Beach‘s self-titled debut, as the new band fronted by guitarist/vocalist David Wheeler (OutsideInside, Carousel) and bringing together a five-piece with members of Fist Fight in the Parking Lot, Cruces and others melds ’70s-derived sounds with a modern production sheen, so that the Thin Lizzy-style twin leads of “Airboat” hit with suitable brightness and the arena-ready vibe in “Willodene” sets up the proto-metal of “Black Market Buss Pass” and the should-be-a-single-if-it-wasn’t “Hear You Calling.” Swagger is a staple of Wheeler‘s work, and though the longest song on Limousine Beach is still under four minutes, there’s plenty of room in tracks like “What if I’m Lying,” the AC/DC-esque “Evan Got a Job” and the sprint “Movin’ On” (premiered here) for such things, and the self-awareness in “We’re All Gonna Get Signed” adds to the charm. Closing out the 13 songs and 31 minutes, “Night is Falling” is dizzying, and leads to “Doo Doo,” the tight-twisting “Tiny Hunter” and the feedback and quick finish of “Outro,” which is nonetheless longer than the song before it. Go figure. Go rock. One of 2022’s best debut albums. Good luck keeping up.

Limousine Beach on Facebook

Tee Pee Records website

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40 Watt Sun, Perfect Light

Perfect Light is the closest Patrick Walker (also Warning) has yet come to a solo album with 40 Watt Sun, and any way one approaches it, is a marked departure from 2016’s Wider Than the Sky (review here, sharing a continued penchant for extended tracks but transposing the emotional weight that typifies Walker‘s songwriting and vocals onto pieces led by acoustic guitar and piano. Emma Ruth Rundle sits in on opener “Reveal,” which is one of the few drumless inclusions on the 67-minute outing, but primarily the record is a showcase for Walker‘s voice and fluid, ultra-subdued and mostly-unplugged guitar notes, which float across “Behind My Eyes” and the dare-some-distortion “Raise Me Up” later on, shades of the doom that was residing in the resolution that is, the latter unflinching in its longing purpose. Not a minor undertaking either on paper or in the listening experience, it is the boldest declaration of intent and progression in Walker’s storied career to-date, leaving heavy genre tropes behind in favor of something that seems even more individual.

40 Watt Sun on Facebook

Cappio Records website

Svart Records website

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Decasia, An Endless Feast for Hyenas

Snagged by Heavy Psych Sounds in the early going of 2022, French rockers Decasia debut on the label with An Endless Feast for Hyenas, a 10-track follow-up to 2017’s The Lord is Gone EP (review here), making the most of the occasion of their first full-length to portray inventive vocal arrangements coinciding with classic-sounding fuzz in “Hrosshvelli’s Ode” and the spacier “Cloud Sultan” — think vocalized Earthless — the easy-rolling viber “Skeleton Void” and “Laniakea Falls.” “Ilion” holds up some scorch at the beginning, “Hyenas at the Gates” goes ambient at the end, and interludes “Altostratus” and “Soft Was the Night” assure a moment to breathe without loss of momentum, holding up proof of a thoughtful construction even as Decasia demonstrate a growth underway and a sonic persona long in development that holds no shortage of potential for continued progress. By no means is An Endless Feast for Hyenas the highest-profile release from this label this year, but think of it as an investment in things to come as well as delivery for right now.

Decasia on Facebook

Heavy Psych Sounds on Bandcamp

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Giant Mammoth, Holy Sounds

The abiding shove of “Circle” and the more swinging “Abracadabra” begin Giant Mammoth‘s second full-length, Holy Sounds, with a style that wonders what if Lowrider and Valley of the Sun got together in a spirit of mutual celebration and densely-packed fuzz. Longer pieces “The Colour is Blue” and “Burning Man” and the lightly-proggier finale “Teisko” space out more, and the two-minute “Dust” is abidingly mellow, but wherever the Tampere, Finland, three-piece go, they remain in part defined by the heft of “Abracadabra” and the opener before it, with “Unholy” serving as an anchor for side A after “Burning Man” and “Wasteland” bringing a careening return to earth between “The Colour is Blue” and the close-out in “Teisko.” Like the prior-noted influences, Giant Mammoth are a stronger act for the dynamics of their material and the manner in which the songs interact with each other as the eight-track/38-minute LP plays out across its two sides, the second able to be more expansive for the groundwork laid in the first. They’re young-ish and they sound it (that’s not a slag), and the transition from duo to three-piece made between their first record and this one suits them and bodes well in its fuller tonality.

Giant Mammoth on Facebook

Giant Mammoth on Bandcamp

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Pyre Fyre, Rinky Dink City / Slow Cookin’

New Jersey trio Pyre Fyre may or may not be paying homage to their hometown of Bayonne with “Rinky Dink City,” but their punk-born fuzzy sludge rock reminds of none so much as New Orleans’ Suplecs circa 2000’s Wrestlin’ With My Ladyfriend, both the title-tracks dug into raw lower- and high-end buzztone shenanigans, big on groove and completely void of pretense. Able to have fun and still offer some substance behind the chicanery. I don’t know if you’d call it party rock — does anyone party on the East Coast or are we too sad because the weather sucks? probably, I’m just not invited — but if you were having a hangout and Pyre Fyre showed up with “Slow Cookin’,” for sure you’d let them have the two and a half minutes it takes them (less actually) to get their point across. In terms of style and songwriting, production and performance, this is a band that ask next to nothing of the listener in terms of investment are able to effect a mood in the positive without being either cloyingly poppish or leaving a saccharine aftertaste. I guess this is how the Garden State gets high. Fucking a.

Pyre Fyre on Instagram

Pyre Fyre on Bandcamp

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Kamru, Kosmic Attunement to the Malevolent Rites of the Universe

Issued on April 20, the cumbersomely-titled Kosmic Attunement to the Malevolent Rites of the Universe is the debut outing from Denver-based two-piece Kamru, comprised of Jason Kleim and Ashwin Prasad. With six songs each hovering on either side of seven minutes long, the duo tap into a classic stoner-doom feel, and one could point to this or that riff and say The Sword or liken their tone worship and makeup to Telekinetic Yeti, but that’s missing the point. The point is in the atmosphere that is conjured by “Penumbral Litany” and the familiar proto-metallurgy of the subsequent “Hexxer,” prominent vocals echoing with a sense of command rare for a first offering of any kind, let alone a full-length. In the more willfully grueling “Cenotaph” there’s doomly reach, and as “Winter Rites” marches the album to its inevitable end — one imagines blood splattered on a fresh Rocky Mountain snowfall — the band’s take on established parameters of aesthetic sounds like it’s trying to do precisely what it wants. I’m saying watch out for it to get picked up for a vinyl release by some label or other if that hasn’t happened yet.

Kamru on Facebook

Kamru on Bandcamp

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The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Arthur Desbois of Starmonger

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How do you define what you do and how did you come to do it?

I play guitar, sing and compose for Starmonger.

I started playing guitar in my teenage years like lots of people, wanting to imitate my favorite long-haired rock stars. A few experiences in bands later, upon discovering stoner rock and doom metal way too late in life, Starmonger was created.

How/why do we do that? I don’t really know how it is for other people, but for me, ultimately, there’s a push, an urge, a drive, something that compels me to go and make music. At other times it’s not the songwriting I crave, but the most elemental vibrations themselves. Putting (loud) instruments together in a room, and making guitar and bass amps enter in resonance above the drums pummeling… there’s something visceral and addictive about that.

Describe your first musical memory.

I won’t be the original guy here – I’ll say my parents’ music, so a very broad mix of Beatles, The Who, Deep Purple, along with French singers popular at the time.

As I child, I was not surrounded with musicians. Some children around me were learning piano, violin, etc., which looked like tedious lessons. Nothing I was excited about at that age. But it clicked around 10-11 years old, when seeing friends of my older brother play electric guitars with lots of effects at a birthday party. I took up the guitar a few years after and realized it had become quite an obsession in the meantime.

Describe your best musical memory to date.

Attending Freak Valley Festival (Germany) for the first time in 2019. The lineup was of course amazing, but I fell in love with the whole laid-back summer camp vibe, the mix of hippies and doom-metal fans, the smaller audience… three days of pure positive energy.

Another nice one was discovering Iceland’s The Vintage Caravan some random day via Spotify playlists, digging their music quite instantly, listening to their (at the time, short) discography… and learning a few minutes later that they were playing in my city the very same night. That escalated quickly!

When was a time when a firmly held belief was tested?

I’ve always had some kind of naïve optimism about people, trying to understand other’s motives and interests, or to have a least a basic level of empathy and understanding. But sometimes people just plainly suck, and it’s an important lesson in life. And unfortunately you learn that the hard way, by being confronted with liars, manipulative suckers, bigots, and people convinced they need to have power over others and make them miserable to be happy.

Where do you feel artistic progression leads?

I think when you start making music, you need tools to express yourself, and that comes through both instrument practice and absorbing your different influences. That obviously means mimicking your favorite artists, as no one can just “create” from nothing. So for me, progressing as an artist means getting confident enough to put more and more of yourself in your art. Confident enough to tell yourself and others “this is what I want to say with my art.”

How do you define success?

If we put aside the financial aspect, which can obviously be of utmost importance to continue being able to make music…

I believe that even if artistic creation can be a personal, intimate journey, art (and music in particular) is meant to be broadcasted, shared, and to create bonds between people.

If you manage to touch people with your music, to make somebody enjoy the moment or feel something strong – anything from melancholia to joy – or to forget their day-to-day problems for the duration of a riff, then that’s success, in my opinion.

What is something you have seen that you wish you hadn’t?

We live in depressing times, let’s keep things from getting darker shall we?

Describe something you haven’t created yet that you’d like to create.

I’ll answer with something I thought I would never have the time or motivation to do, and that I finally did during the long months of lockdown: building effects pedals. From simple kits to actually modifying and designing circuits, learning so many things along the way was both extremely satisfying and enlightening!

What do you believe is the most essential function of art?

Art can of course have a large number of “functions”: therapeutic, cathartic, political,…

As I wrote in a previous answer, in my very own personal opinion, its most essential function is bringing people together, creating bonds and connections. Writing and sharing music means accepting to be vulnerable and “letting people in”. Experiencing other people’s art also means opening up, and allow the artist to make you react in some way. So it’s… two-way vulnerability I guess?

Another point: in our day-to-day lives, we’re drowned in information, things to manage, problems to solve, etc. In such a complex world, art gives you an opportunity to feel, think, imagine the world differently, with different layers of depth. Sometimes it’s a profound, enlightening, enraging experience, but sometimes it’s just for fun – we all need to escape reality once in a while, bob our heads to simple beats and cut out the rest.

Something non-musical that you’re looking forward to?

I guess like a lot of people after two tough years of hardships and restrictions: being able to enjoy life *a bit more* like before. Travels, summer festivals, visiting friends and family far away… Oh and finally receiving those 25 millions I was promised in an e-mail some 15 years ago. Crossing fingers!

https://www.facebook.com/starmonger.official/
https://www.instagram.com/starmonger.band/
https://twitter.com/starmongerband
https://starmonger.bandcamp.com/

Starmonger, Revelations (2020)

Parisian heavy rock trio Red Sun Atacama will release their second album, Darwin, on June 17. It is their label-debut for Mrs Red Sound, the imprint helmed by Bourdeaux-based psych-prog rockers Mars Red Sky, and it follows 2018’s Licancabur (review here) while expanding the methodology of the three-piece began to feel out those years ago. Where the first full-length, which came out through More Fuzz, expressed its penchant for jams and shred across two vinyl sides in extended tracks like “The Gold” and “Empire” — both over 10 minutes long — Darwin seems to be bringing the sides together such that a song like “Antares” can move from an airier post-rock beginning into punch-bass-shred-guitar-shove-drums as quickly as the passing of a measure.

None of the six tracks on the vinyl-ready 38-minute offering hit 10 minutes, but in “Furies” and “Antares” after the intro “11-CH” on side A and even in the shorter pairing of “Echoes” and “Revvelator” on side B ahead of the eight-minute closer “Ribbons,” the three-piece of guitarist/keyboardist Vincent Hospital, bassist/vocalist Clément Marquez and drummer Robin Caillon harness a dynamic that is likewise able to rock out in the spirit of Earthless or emergent fellow Frenchmen Slift, and to open at will into broader atmospherics, improvised-sounding jams crucial to the flow of the album as an entirety and at times hypnotic unto themselves.

There’s still a distinct line between one and the other, as “Furies” readily demonstrates at (near) the outset, as Marquez‘s “woo!” exclamation precedes a slowdown and shift into the exploration that will consume much of the song’s second half as they build back up into a Truckfighters-style fuzz-fueled energy overload for a solo-topped payoff, but the fluidity of their changes isn’t to be ignored, and neither is the fact that, after “Furies” ends with a fury worthy of naming the song after, “Antares” starts so mellow and echoing.

That is not even the first and certainly not the last whole-album consideration on the part of the band, with the Spanish-style guitar giving over to the drums as “11-CH” moves into “Furies” earlier, but the signal is plain in establishing a flow just the same. And at 9:40, “Antares” is both the longest track on Darwin and an encapsulation of the album itself, complete with echoing spoken part over the post-crescendo comedown that gives way to a sudden last-minute kick of tempo and vitality, a surge that brings about the end of the record’s first half and offers a start the momentum that, on a non-vinyl linear format, will be continued through the beginning of “Echoes” (video premiering below).

Here too, Red Sun Atacama present a summary of their structural approach, their willful bringing together of traditional verse-and-chorus, desert-inspired heavy rock and more expansive fare, but in more concise, efficient fashion. It begins the back end of Darwin with a full-press groove, wasting not a second before sweeping the listener in its no-mystery-why-this-would-be-a-single sense of physical movement. They are controlled throughout, as demonstrated by the tap of wood-block before the second verse and the twists they work in along the way even before they turn rather suddenly into a subdued, melodic psychedelic break — just for a moment — en route to once again hitting maximum thrust. Marquez‘s bass makes it a highlight no less than Hospital‘s guitar swirl that emerges as the next slowdown is manifested with somewhat more patience, and, like “Antares” before it, brought to silence before coming all the way back.

And where the subsequent “Revvelator” is likewise set on the burning of barns initially, its five-minute run doesn’t have the same symmetry of tempo, slowing down after its rousing jam and rolling to its finish, an impact more of tone and crash than careening twists and gallop. It ends, as it must, in feedback, from whence “Ribbons” takes hold in mid-paced groove and a quick-arriving first verse. Thus the momentum set forth in “Echoes” and really the ending of “Antares” is held up even as Red Sun Atacama communicate the turn into Darwin‘s last stage, which will rise, recede, and rise again before a long fade out to the sounds of waves and a strumming acoustic guitar recalls “11-CH” not so long ago but feeling far away nonetheless, the band having unquestionably made a trip out of the simple going from one end to the other. A final example of the thoughtfulness put into the album as a whole.

Given the reach of some of the jam herein and the chemistry with which they’re executed, it is much to the band’s credit that Darwin feels as unpretentious as it does — the prevailing vibe is of a band doing what they do. Their progression sees them bringing the varying sides of their personality closer together than on the debut, and it’s entirely possible that will hold firm as they move on from this release as well, but some of the nuance in their jams, when looked at one next to the other, hints toward various surprises that may or may not be up the band’s collective sleeve, including changing up the structural foundation of their songs themselves, thinking of how “Ribbons” cascades in comparison to “Furies” and “Antares” before, or even how “Echoes” and “Revvelator” work to accomplish their own ends while resting so easily next to each other.

Red Sun Atacama have grown and are growing more adventurous. One hopes they’ll keep going on the path they seem to be creating for themselves.

The video for “Echoes” features behind-the-scenes footage captured at The Apiary Studio where Darwin was recorded with producer Amaury Sauvé, who also mixed and contributed percussion, and follows here.

Please enjoy:

Red Sun Atacama, “Echoes” video premiere

Red Sun Atacama on “Echoes”:

“Echoes has been thought as a fuzzy, heavy and straight to the point highway to the stars, an invitation to a black hole jam. With Echoes, Red Sun Atacama moves to a more garagy and speedy approach. Lemmy striking a drunk dead Stooge on the ground with a fuzzy hammer and krauty gloves.”

The video was shot at the studio during the recording sessions. Video by Vincent Hospital with the help of Seb Antoine.

Single off Red Sun Atacama’s new album “DARWIN” – out on June 17th via Mrs Red Sound. Recorded and mixed by Amaury Sauvé (who produced albums of hard core outfit Birds In Row) at The Apiary studio (Laval, France); Amaury Sauvé also plays additional percussions on most of the album tracks including Echoes. Master: Thibault Chaumont from Deviant Lab.

Album artwork Nicolas Marciano and Corinne Larre from Twisted Hooves Studio.

Track listing:
1. 11-CH
2. Furies
3. Antares
4. Echoes
5. Revvelator
6. Ribbons

LINE-UP:
Clément Marquez: bass, vocals
Robin Caillon: drums
Vincent Hospital: guitar, keyboard

Red Sun Atacama on Facebook

Red Sun Atacama on Bandcamp

Red Sun Atacama on Instagram

Mrs Red Sound on Facebook

Mrs Red Sound on Twitter

Mrs Red Sound on Instagram

Mrs Red Sound website

Granted, it’d be a hoot to tell you that I knew all along that this announcement was coming when I posted the Obelisk Questionnaire last week with Red Sun Atacama bassist/vocalist Clément Marquez, but the wretched truth is I’m not that coordinated. That questionnaire had been waiting to run for about two months, so obviously if anyone was thinking ahead, it was Marquez himself and not me.

Either way, kudos to him and to bandmates Vincent Hospital (guitar/keys) and Robin Caillon (drums) on inking with Mrs Red Sound, which is of course the label founded in 2013 by French heavy psych magnates Mars Red Sky. And while that band are also due a new long-player, word that Red Sun Atacama will release a follow-up to 2018’s Licancabur (review here) sometime later this year is also definitely welcome.

No real details on that yet, but I guess one thing at a time. The signing announcement follows accordingly, hoisted from the PR wire:

RED SUN ATACAMA sign to Mrs Red Sound Records for the release of their upcoming album on 2022

Desert punk outfit RED SUN ATACAMA are now officially part of Mrs Red Sound Records, the label founded by French heavy psychedelic band Mars Red Sky. They inked a deal with the cosmic house to release their sophomore album.

Paris-based desert punk trio RED SUN ATACAMA join Mrs Red Sound’s forces and announce a new album for 2022: “We are ecstatic to announce our signing with Mrs Red Sound for the release of our upcoming album! We are delighted to join this great household, already known for supporting rad bands of the French scene: Dätcha Mandala, Witchfinder, Baron Crane and Little Jimi. We can’t hardly wait to share more info on the upcoming release recorded at the Apiary studio by el magó Amaury Sauvé, prepare for some vitriolic boogie vibes!”

Spread through the impetuous fuzz of Californian legends Fu Manchu, Kyuss or Brant Bjork, RED SUN ATACAMA praise the burning sound of the desert and the Holy Groove with irresistible slashing riffs. Volcanic and wild, the Atacama Desert mesmerizes the band as much as it inspires them. Their sound is driven by its beyond compare magnetism.

Born in 2014 in Paris, RED SUN ATACAMA combines desert rock psychedelia and punk fury. They auto-produced their first EP ‘Part 1’ in 2015, and released a bubbling debut album, ‘Licancabur’, in 2018 via More Fuzz Records. The record definitely establishes the trio’s unique, raw and insolent style. On stage, Red Sun Atacama fully manage to share the same hypnotic outburst than on their studio efforts: they already performed in various European countries alongside international heavyweights such as Uncle Acid And The Dead Beats, Mars Red Sky, Planet of Zeus, Steak, Slift…

For their second album, Red Sun Atacama chose to work with producer Amaury Sauvé at Apiary studio; it’s coming out on 2022 via Mrs Red Sound Records.

LINE-UP:
Clément Marquez: bass, vocals
Robin Caillon: drums
Vincent Hospital: guitar, keyboard

https://www.facebook.com/ElsolrojodeAtacama
https://elsolrojodeatacama.bandcamp.com/
https://www.instagram.com/redsunatacama/

https://www.facebook.com/mrsredsound33
https://twitter.com/mrsredsound
https://www.instagram.com/mrsredsound/
https://mrsredsound.com/

Red Sun Atacama, Licancabur (2018)

The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Clément Márquez of Red Sun Atacama

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How do you define what you do and how did you come to do it?

You mean with the Atacama band? We play a mixture of heavy desert rock, with regular slides into psychedelic jams and an always on punkish abrasive spirit. The first album Licancabur was still rooted in desert rock but the upcoming album will push even further the crossover of styles!

We came to do this kind of urban/desert rock crossover very naturally. Since late teenage years we‘ve been listening to Stoner and Heavy Psych -music much more associated with beaches/space/desert- while growing up and living in big cold grey city!

Describe your first musical memory.

My very first musical memory must be witnessing my uncles on stage when I was five or six! They were an important act of Chilean folk music (Illapu) back in the days and without a doubt must the very first band I’ve ever seen live. Memories are blurry of course, but I remember the electricity in the air, the lights…and the smoke machine! (lol)

However, back then I cannot say I cared that much about the music per say, or at least as much as any form of entertainment.

Describe your best musical memory to date.

Tough one! As an audience, it’s a close game between the Stooges in 2007 and Motorpsycho in 2014. The Stooges gig was just MADNESS. Fury on and off the stage, sound insanely loud… as a sweet nineteen youngster, there was a real feeling of both danger from being in the frantic crowd and ecstasy from the sonic magma and energy pouring from the stage.

The Motorpsycho gig was kind of a “blind date” for me. I went there without knowing much of the band and on the recommendation from my friend Seb “Flyin Caillou” (from More Fuzz blog/label). I was blown away. Everything was so powerful yet beautiful, perfectly fluid while complex. They are really unique and hard to put a label on. One of the very few gigs that moved me to a tear, and I’ve been to a few!

As a band, again a tough one. We played various places and audience size, but strangely enough my best gig memory must be in Ghent’s Kinkystar, a smallish rock venue.

The event was organized by the NoNameCollective crew (they are rad!), and was iconic of what a good bar gig should be : place fully packed with bodies up to the entrance door, beer flying across the room, friendly mosh pits and risky crowd surfing, with music rattling windows and glasses on the bar. Electric.

When was a time when a firmly held belief was tested?

I cannot say to be fair. I really consider music as something personal, and to a greater extent in the rock/metal music niches we are in. You have to be open to other people tastes and opinions, but at the same time should not feel compelled to satisfy and follow the pack neither.

There is some bands I really don’t dig but I would never presume they are “bad” and vis versa.

But again, and I don’t want to sound corny, I find that the Doom/Stoner/Heavy/Psych niche to be way less judgmental than some other Metal/Rock scenes!

Where do you feel artistic progression leads?

I think when you start out, you have a lot of influences to digest and you often tend to mimic some music/style/bands you already dig. Then, gigs after gigs, rehearsals after rehearsals, if you found the right match of band mates…you end up with something that’s more “you”.

That’s a progression that you can witness with most bands, usually the first album is kind of the “proto” version of the band, then the second and/or third album is really when the band defines itself!

Artistic progression is not be judge on how famous the project gets but how much it you feel like it’s “you”.

How do you define success?

Oof. Tough one again. The simplest common way to answer would be “to be able to do only what you like without having to worry about the money” but that a bit reductive and a lot of successful bands in the scene must work “regular jobs” when touring and recording is off.

The way I see it, and maybe this is “thinking small”, success would be when the whole band feel like they have reached what they aimed for at first, they are proud of what they accomplished, and that anything that comes after is bonus.

What is something you have seen that you wish you hadn’t?

Maybe I’m lucky, but in the context of the music scene, both as an audience and a band, I can’t recall something I wish I hadn’t seen. We had a couple of crappy sleeping places after some shady gigs, but that’s just bad experiences which make for great spicy memories to share later! (lol)

Describe something you haven’t created yet that you’d like to create.

I have this idea for some years now, to start a band mixing post-hardcore, sludge-doom and kraut elements. The whole thing with guitars, drummer(s?), bass, synth and at least 3 singing members. I have ZERO time to start such a project but that’s stuck in my head!

What do you believe is the most essential function of art?

I have the sensation that art and even more music is the last transcendental domain we have left.

(sorry, so much gravitas, I know! lol)

Something non-musical that you’re looking forward to?

Same thing as most of the world : get back to a much “normal” life!

On a more personal note, also the release of our second album with Atacama. We just started to look for labels but we are really excited about this one!

https://www.facebook.com/ElsolrojodeAtacama
https://elsolrojodeatacama.bandcamp.com/
https://www.instagram.com/redsunatacama/
https://www.facebook.com/morefuzzrecords/
https://www.instagram.com/morefuzzz/
https://morefuzzrecords.bandcamp.com/

Red Sun Atacama, Licancabur (2018)

Somehow it feels longer than it’s actually been. Yeah, a year’s changed over, but it’s really only been about a month since the last Quarterly Review installment, which I said at the time was only half of the full proceedings. I’ve started the count over at 1-50, but in my head, this is really a continuation of that five-day stretch more than something separate. It’s been booked out I think since before the last round of 50 was done, if that tells you anything. Should tell you 2021 was a busy year and 2022 looks like it’ll be more of the same in that regard. Also a few other regards, but let’s keep it optimistic, hmm?

We start today fresh with a wide swath of stuff for digging and, well, I hope you dig it. Let’s go.

Quarterly Review #1-10:

Zack Oakley, Badlands

Apparently I’ve been spelling Zack Oakley‘s name wrong for the better part of a decade. Zack with a ‘k’ instead of an ‘h’ at the end. I feel like a jerk. By any spelling, dude both shreds and can write a song. Known for his work in Joy, Pharlee, Volcano, etc., he brings vibrant classic heavy to the fore on his solo debut, Badlands, sounding like a one-man San Diego scene on “I’m the One” only after declaring his own genre in opener “Freedom Rock.” “Mexico” vibes on harmonica-laced heavy blues and the acoustic-led “Looking High Searching Low” follows suit with slide, but there’s tinge of psych on the catchy “Desert Shack,” and “Fever” stomps out in pure Hendrix style without sounding ridiculous, which is not an achievement to be understated. Closing duo “Acid Rain” and “Badlands” meet at the place where the ’60s ended and the ’70s started, swaggering through time with more hooks and a sound that might be garage if your garage had a really nice studio in it. I’ll take more of this anytime Mr. Oakley wants to belt it out.

Zack Oakley website

Kommune Records on Bandcamp

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Vøuhl, Vøuhl

Issued by Shawn Pelata — also known as Pælãtä Shåvvn, with an apparent thing for accent marks — the self-titled debut from Vøuhl mixes industrial-style experimentalism, dark ambience and a strong cinematic current across a still-relatively-unassuming five-songs and 23 minutes, hitting a resonant minimalism at the ending of “Evvûl” while building to a fuller-sounding progression on the subsequent “Välle.” Drones, echoing, looped beats and thoughtfully executed synth let Pelata construct each atmosphere as an individual piece, but with the attention obviously paid to the presentation of the whole, there’s nothing that keeps one piece from tying into the next either, so whether one approaches Vøuhl‘s Vøuhl as an EP or a short album, the impression of a deep-running soundscape is made one way or the other. What seems to be speech samples in “Aurô” and noise-laced closer “ßlasste” — thoroughly manipulated — may hint at things to come, but I hope not entirely at the expense of the percussive urgency of opener “Dùste” here.

Vøuhl on Facebook

Stone Groove Records website

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White Manna, First Welcome

At first you’re all like, “yeah this is right on I can handle it” and then all of a sudden White Manna are about four minutes into the freakery of “Light Cones” opening up their latest opus First Welcome and you’re starting to panic because you took too much and you’re couchlocked. The heretofore undervalued Calipsych weirdos are out-out-out on their new eight-songer, done in an LP-ready 39 minutes but drippy droppy through an interdimensional swap-meet of renegade noises and melted-down aesthetics. Maybe you heard 2020’s ARC (review here) and thereby got on board, or maybe you don’t know them at all. Doesn’t matter. The thing is they’re already in your brain and by the time you’re done with the triumph-boogie of “Lions of Fire” you realize you’re one with the vibrating universe and only then are you ready to meet the “Monogamous Cassanova” in krautrock purgatory before the swirling “Milk Symposium” spreads itself out like a blanket over the sun. Too trippy for everything, and so just. fucking. right. If you can hang with this, I wanna be friends.

White Manna on Facebook

Cardinal Fuzz webstore

Centripetal Force Records website

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Daily Thompson, God of Spinoza

In 2022, German heavy rockers Daily Thompson mark a decade since their founding. God of Spinoza is their fifth full-length, and in songs like “Cantaloupe Melon,” “Golden Desert Child,” and “Muaratic Acid,” the reliability one has come to expect from them is only reinforced. Their sound hinges on psychedelia, but complements that with an abiding sense of grunge and a patience in songwriting. They’ve done heavy blues and straight-up rock in the past, so neither is out of the trio’s wheelhouse — the penultimate “Midnight Soldier” is a breakout here — but the title-track’s drawn-out “yeah”s and slacker-nod rhythm seem to draw more directly from the Alice in Chains school of making material sound slow without actually having it crawl or sacrifice accessibility. I’d give them points regardless for calling a song “I Saw Jesus in a Taco Bell,” but the closer is a genuine highlight on God of Spinoza turning a long stretch of disaffection to immersive fuzz with a deftness befitting a band on their fifth record who know precisely who they are. Like I said, reliable.

Daily Thompson on Facebook

Noisolution website

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Headless Monarch, Titan Slug

Founded by guitarist/bassist Collin Green, Headless Monarch released their first demo in 2013 and their most recent EP, Nothing on the Horizon, in 2016. Five years later, Green and drummer Brandon Zackey offer the late-2021 debut full-length, Titan Slug, working in collaboration for the first time with vocalist and producer Otu Suurmunne of Moonic Productions — who mostly goes by Otu — across a richly executed collection of six tracks, three new, three from prior outings. Not sure if Otu is a hired gun as a singer working alongside the other two, but there’s little arguing with the results they glean as a trio across a song like “Fever Dream” or “Sleeper Now Rise,” the latter taken from Headless Monarch‘s 2015 two-songer and positioned in a more aggressive stance overall. The newer songs come across as more fleshed out, but even “Eight Minutes of Light” from the first demo has atmospheric reach to go with its clarity of focus and noteworthy heft. One only hopes the collaboration continues and inspires further work along these lines.

Headless Monarch on Instagram

Headless Monarch on Bandcamp

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Some Pills for Ayala, Space Octopus

Technically speaking, you had me at Space Octopus. After releasing a self-titled EP under the somewhat-troubling moniker (one hopes it’s not too many) Some Pills for Ayala, multi-instrumentalist, vocalist and producer Néstor Ayala Cortés of At Devil Dirt returns with this two-songer, comprised of its 11-minute title-cut and the shorter “It’s Been a Long Trip.” The lead track is duly dream-drifty in its procession, a subtle build underway across its span but pushing more for hypnosis than impact and getting there to be sure, even as the second half grows thicker in tone. At 3:48, “It’s Been a Long Trip” comes across more as an experiment in technique captured and used as the foundation for Cortés‘ soft, wide echoing vocals. Lysergic and adventurous in kind, the 15-minute EP is nonetheless serene in its presence and soothing overall. Could be that Cortés might push deeper into folk as he goes forward, but the acidy foundation he’s working from will only add to that.

Some Pills for Ayala on Instagram

Some Pills for Ayala on Bandcamp

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Il Mostro, Occult Practices

It’s a quick in-out from Boston heavy punkers Il Mostro on the Occult Practices EP. Four songs, the last of which is a cover of T.S.O.L.‘s “Black Magic,” nothing over three minutes long, all fits neatly on a 7″. For what they’re doing, that makes sense, taking the high-velocity ethic of Motörhead or Peter Pan Speedrock (if you need a second plays-fast-punk-derived-and-rocks band) and delivering with an appropriately straightforward thrust. Opener “Firewitch” ends with giggling, and that’s fair enough to convey the overarching lack of pretense throughout, but they do well with the cover and have a righteous balance between control and chaos in the relatively-mid-paced “Trial” and the sprinter “Faith in Ghosts,” which follows. Is cult punk a thing? I guess you could ask the Misfits that question, but Il Mostro mostly avoid sounding like that Jersey band, and it’s easy enough to imagine them bashing walls at any number of Beantown havens or bathed under the telltale red lights of O’Brien’s as they tear into a set. So be it, punkers.

Il Mostro on Facebook

Il Mostro on Bandcamp

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Carmen Sea, Hiss

Should it come as a surprise that an EP of violin-laced/led instrumentalist progressive post-rock, willfully working against genre convention in order to cross between metal, rock and more atmospheric fare includes an element of self-indulgence? Nope. How could it be otherwise? The five-track Hiss from Parisian four-piece Carmen Sea is a heady outing indeed, but at just 29 minutes, the band doesn’t actually lose themselves in what they’re doing, and the surprises they offer along the way like the electronic turns in “Black Echoes” or the quiet drone stretch in the first half of 11-minute closer “Glow in Space” — which gets plenty tense soon enough — provide welcome defiance of expectation. That is to say, whatever else they are, Carmen Sea are not predictable, and that serves them well here and will continue to. “Frames” begins jarring and strutting, but finds its strength in its more floating movement, though the later bridge of classical and weighted musics feels like the realization that might’ve led to creating the band in the first place. There’s potential in toying with that balance.

Carmen Sea on Facebook

Carmen Sea Distrokid

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Trip Hill, Ain’t Trip Ceremony

Florence’s Fabrizio Cecchi has vibe to spare with his solo-project Trip Hill, and Denmark’s Bad Afro Records has stepped forward to issue the 2020 offering, Ain’t Trip Ceremony, toward broader consciousness. The eight-song/39-minute long-player is duly dug-in, and its psychedelic reach comes with a humility of craft that makes the songs likewise peaceful and exploratory and entrancing. Repetition is key for the latter, but Cecchi also manages to keep things moving across the album, with a fuzzy cut like “Spam Mind” seeming to build on top of loops and shifting into a not-overblown space rock, hardly mellow, but more acknowledging the vastness of the cosmos than one might expect. The more densely-fuzzed “Ralph’s Heart Attack” leads into the guitar-focused “Pan” ahead of the finale “What Happened to Will,” but that’s after “Tame Ùkhan” has gone a-wandering and decided to stay that way and the seven-minute “Trái tim Thán Yêu” has singlehandedly justified the vinyl release in its blend of percussive urgency and psychedelic shimmer. Go in with an open mind and you won’t go wrong.

Trip Hill on Facebook

Bad Afro Records on Bandcamp

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Yanomamo & Slomatics, Split 7″

Yanomamo begin their Iommium Records two-song split 7″ with Slomatics by harshly delivering a deceptively positive message: “If you’re going to seek revenge/Might as well dig two graves/He who holds resentment is already digging his own.” Fair enough. The Sydney, Australia, and Belfast, Northern Ireland, outfits offer about 10 and a half minutes of material between them, but complement each other well, with the thickness of the latter building off the raw presentation of the former, Yanomamo‘s guttural portrayal of bitterness offered in scream-topped sludge crash on “Dig Two Graves” that builds in momentum toward the end while Slomatics‘ “Griefhound” offers the futurist tonal density and expanse of vocal echo typifying their latter-day work and turns a quiet, chugging bridge into a consciousness-slamming payoff. Neither act is really out of their comfort zone, but established listeners will revel in the chance to hear them alongside each other, and if you hear complaints about either of these cuts, they won’t be from me.

Yanomamo on Facebook

Slomatics on Facebook

Iommium Records on Bandcamp

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After a 2015 self-titled EP (review here) and 2017’s The Lord is Gone (review here) three-songer, Parisian trio Decasia have signed on with Heavy Psych Sounds to release their upcoming debut album. That’s about all the details I have here, folks. You know how this goes by now. It’s kind of the announcement of the announcement, setting the foundation so that next week, when the preorders open and the art, details and first audio from the record follow, they’re not coming out of nowhere. I’m posting it for the same reason.

Also to get re-introduced to The Lord is Gone, which Decasia issued through More Fuzz Records in May 2017, which means it will likely be five years between outings before their LP shows up — it could sneak out in April; I honestly don’t know what Heavy Psych Sounds is dealing with in terms of pressing delays at this point or how long this release has actually been in the works — but in a universe of infinite possibilities, I’m interested to hear what Decasia have been doing with their time and how that might manifest in a new single and full-length.

Stream of the second EP is at the bottom of the post if you’d like to dig in. PR wire whatnot follows:

HEAVY PSYCH SOUNDS signed the heavy psych band DECASIA – presale of the debut album start January 18th !!!

PRESALE + first track premiere: JANUARY 18th

French heavy psych rock act DECASIA has announced their signing with powerhouse label Heavy Psych Sounds Records, who will proudly release the band’s first full-length album in the Spring of 2022!

Raised by any type of uplifting music, and with two much acclaimed EPs and their upcoming debut LP, DECASIA forged their sound from the bottom of the deepest ocean to the highest mountains carrying with them, strength and sensibility with a rich and colorful range of emotions. On stage, the Paris-based trio offers an immersive and powerful show, always providing an explosive cocktail: Channeling the flavor of the best stoner rock scene (All Them Witches, Elder, Colour Haze…) and adding their own recipe to it, showing us all the richness and diversity the genre has to offer.

“We are thrilled to join the fuzzy Heavy Psych Sounds family,” the band comments. “Behold what will come next! New music, new videos, and a lot other exciting projects are on the way! We can’t wait to share it with all of you and hit the road soon, stay tuned Folks!”

The pre-sale alongside a first song premiere of DECASIA’s upcoming album, will be available on January 18, 2022.

DECASIA is:
Maxime Richard: Guitar & Vocals
Fabien Proust: Bass & Synth
Geoffrey Riberry: Drums

www.facebook.com/Decasia.Official
www.instagram.com/decasiagram
https://decasia.bandcamp.com/
heavypsychsoundsrecords.bandcamp.com
www.heavypsychsounds.com
https://www.facebook.com/HEAVYPSYCHSOUNDS/
https://www.instagram.com/heavypsychsounds_records/

Decasia, The Lord is Gone (2017)